Review Summary: I am left disappointed after listening to TZIA to realize that it may just take longer for Meg Myers to buckle down on the formula that once showed such aptitude that would launch a legitimate career for her as a genuine artist.
How does one make a comeback after three years stuck in the in-between, dormant amidst the underground and mainstream? With a slew of shallow, progressive statements of course.
Meg Myers’, TZIA has released under Sumerian Records label company and the sound is adventurous from the moment the record begins. TZIA manages tight-nit production all throughout from the moment it starts, down to the moment it ends. Some shining moments include opening track, “CHILDREN OF THE LIGHT II” with eerie synths and daunting percussion backlining a rather exciting vocal performance from Myers. “ME” takes on a personal venture where Myers basks in her own independence and the turbulence that comes with betting on yourself. The song mixes rock style influences with alternative-pop and overall, blends really well with the foundation of linear, hard hitting percussion and gritty synth and bass. “BLUEBIRD” is an admirable stylistic change on the record that features beautifully performed vocal melodies alongside a melancholy cello line and somber layered vocal hums.
It’s after this that we start to hear a shift in nature and integrity.
“SOPHIA<144> (Feat. Nicole Perretti)” for the most part, is an enjoyable listen that gives the impression that Myers took the parts that made her album, Take Me to the Disco, great and evolved those in a fairly honorary way. The song reaches its worst stage when Perretti gets her spotlight in the third verse. It is repulsive with the most insufferable, preachy lines while sounding mockingly terrible.
“Take down the systems that block kingdom come
Unify a history rewrite while we unify intrepid in spite,”
TZIA reaches other consistent low points as well where Myers fails to meet any form of maturity and subtlety. “OVARIES SPEAK” is a well polished song in terms of production and the dynamic contrasts present here are carried out well. However, Myers’ lyrics and delivery are a repeat from earlier songs with no real substance. Tracks like “HTIS (Feat. Luna Shadows & Carmen Vandenberg)” and “MY MIRROR” backpedal with obnoxious production coming from the worst songs from the mid-2000’s and uninspiring lyrics. The absolute worst to come from the indie artist was the decision to cover legendary track “Numb” by Linkin Park. “NUMB” on TZIA was a failed attempt here by Meg Myers to add her own creative interpretation with dreadful, off putting sensual sighs in the background and an unnecessary, desperate callback moment from her debut EP, Daughter in the Choir tucked into the lyrics of the song.
TZIA is an exhibit of preachy, moralizing songwriting with the intent to prove something within the liberal agenda. But to what and to whom are we trying to prove this too? The right-leaning, conservative group who are meant to hate this? Is the attempt here to “stick it to them?” I’m curious about this decision as I’m sure the intent was to unite and exemplify, but the result just leads to the opposite. A few moments on this record show that Myers has learned to take away parts from her previous records that were great, and evolve those into a new style that Myers has been leaning towards for years, and the result shows promise. However, I am left disappointed after listening to TZIA to realize that it may just take longer for Meg Myers to buckle down on the formula that once showed such aptitude that would launch a legitimate career for her as a genuine artist. I hope to hear this soon as I fear Myers may be reaching her expiration date without ever getting the chance to really showcase her talent to the industry and community.
